I am always pleased to write to Jack Savage’s art but this one I really loved and I think you’ll see why. It was already blessed with title:

The Day Joe In Accounting Said To Hell With It!

What a gift!!! Look for our other collaborations in PostcardPoems&Prose.

Maybe you’d all like to think about EVERGREEN in BwS. Don has some interesting questions posed to and he takes answers and publishes them so have a go if you wish. I wrote this just before Christmas as a first draft but it’s been through a lot of changes and despite hating this artwork I got a decent poem out of it and managed at the same time to ‘modernise’ the symbolism — computers were in their infancy when this was painted. Now I know some of you will like the painting which is displayed alongside the poem in BwS. It’s subjective, right? Anyway it turned out well and I would love to read people’s opinions on it so get analysing.

  1. In Oonah V. Joslin’s “Evergreen”:
    1. Why does a line break occur in the word “momentum”?
    2. What is meant by the refrain “windows disappear”?
    3. “Evergreen” is an ekphrastic poem, but what classic literary theme or themes does it evoke: Memento mori? Tempus fugit? Sic transit gloria mundi? Vita est somnium?

Thanks to Marion Clarke and Donald Webb for their insights to my poem Evergreen. It is always gratifying to see a discussion of the work and in this case — spot on!

I found this painting quite unsettling and maybe even a bit frightening and I didn’t really want to look at it for as long as I had to in the course of the writing session. But when I got home I thought — why waste such effort? So I revisited what I had written and revised and revised. As I did so more unsettling things struck me – the venous return was one, the windows and all they represented, from our own brief window of time to the windows programme I was engaged with now and my poem Fenestration came to mind too. It’s all about windows.

I struggled with the form. It had to be formal as a funeral rite. It had to be constrained as a game, hemmed in like the girls, stultified as the building. It had to feel somewhat uncomfortable – the repetitions uncertain as the future, the ending not quite finished and yet very finite. I struggled inwardly with that word split on moment – um. It is contrived. It’s kind of ‘cutesy’ but the stasis of the game, the uncertainty of the moment, the ‘um’ itself worked and — well yes it’s a bit unsubtle but that was part of what I had to say about the painting. Form and content, always form and content.

It is true I did not like this painting and I can honestly say that I still don’t but I do like what came of it and as I often find, working to someone else’s agenda can open the door to a creative place you wouldn’t have gone to on your own.

I L O V E the look of out latest Linnet’s Wings due out any time now Marie tells me.


It’s a great issue as you can see by the people in it. Do visit our site and browse and buy an issue past or present and if you are a poet send me some of your work. I have also written a review of James Graham’s book BECOMING A TREE which is due out on Monday so don’t miss that. I had a bit of exclusive access 🙂

May your weekend be filled with all the things you LOVE